Use ribbon mics for roomy, full-bodied drum recordings
Problem: dry or flat-sounding drum recordings
Ribbon mics capture more room reflections due to their figure-8 polar pattern, which allows them to pick up sound from both the front and back. This results in a more natural and spacious representation of the drum…
Ribbon mics can capture the full room sound of a drum kit
Problem: lack of room presence in drum recordings
Due to their figure-8 polar pattern, ribbon mics can capture not only the direct sound of the drums but also the reflections from the room. This makes them ideal for adding depth and space to drum recordings, especially…
Ensure your room is flat for accurate mixing
Problem: inaccurate mixing due to room acoustics
A non-flat room response can distort your perception of the mix, making it difficult to achieve a balanced sound that translates well. By ensuring your room is treated and your monitors are flat, you eliminate the…
Avoid over-optimizing studio environments to reduce artist pressure
Problem: artist discomfort in overly treated studios
The engineer prefers less sterile environments to keep artists relaxed and focused on performance. Overly treated rooms can create anxiety, stifling creativity. This approach prioritizes comfort, leading to more…
Use a reflection shield for basic acoustic treatment in non-studio environments
Problem: poor room acoustics in home recording
In less-than-ideal spaces like bedrooms, a reflection shield can control unwanted reflections without requiring heavy acoustic treatment. This approach balances practicality with quality, allowing artists to record…
Use baffles to deaden the room for drum recording
Problem: room ambience muddying drum recordings
Baffles are used to isolate the drum kit from room reflections, creating a 'dead' sound that avoids unwanted ambience. This technique was common in '70s recordings and allows for more controlled close-miking. The result…
Position kick mics at 45-degree angles to avoid phase issues
Problem: phase cancellation, thin low end
Placing mics at an angle rather than directly facing the drum prevents phase cancellation between multiple microphones. This preserves low-end punch and avoids a thin, boxy sound caused by phase interference. The…
Position Coles mic low to avoid cymbal bleed
Problem: cymbal bleed, unwanted high frequencies
Placing the Coles mic low on the kick drum minimizes cymbal bleed while capturing the drum's natural high-end response. This ensures the mic focuses on the kick's transient and body without picking up unwanted…
Avoid over-processing with natural room ambience
Problem: over-processed, artificial sound
Using natural room ambience (e.g., mike bleeds) instead of heavy plugins prevents the mix from sounding artificial. This approach maintains a 'live' feel by leveraging real acoustic characteristics. It's a common…
Mixing in a bad room is possible with experience and reference monitors
Problem: inaccurate mixing due to poor room acoustics
While a good room is ideal, experienced engineers can mix in bad rooms by understanding how the room reacts and using reference monitors like NS10s. These monitors are intentionally harsh to help identify issues that…
Use budget monitors with proper room treatment for accurate mixing
Problem: inaccurate monitoring due to poor room setup
Ethan emphasizes that even budget monitors (like KRK or M-Audio) can be effective if paired with proper room treatment and speaker positioning. The key is to avoid corners, use acoustic panels, and ensure speakers are at…
Position speakers at 60-degree angles for optimal stereo imaging
Problem: uneven stereo image, inaccurate low-end
Ethan explains that the ideal speaker placement forms an equilateral triangle between the listener and the two speakers. This setup ensures even frequency response and accurate stereo imaging. Incorrect placement (e.g.,…